Förkroppsligat lärande: En studie om gymnasieelevers upplevelse av rörelse i rytmikundervisningen på estetiska programmet med inriktning musik
(2021) LAMP72 20211Malmö Academy of Music
- Abstract (Swedish)
- I musikundervisning används rytmikmetoden som en helhetspedagogik för kunskapsinhämtning och för att stärka förståelse för musikteori. I rytmikmetoden är rörelse av kroppen centralt. En grundpelare i rytmikmetoden är praktik före teori eller ”sound before symbol”, alltså att vi behöver uppleva och erfara saker för att sedan kunna lära oss teorin bakom dem. Men hur upplever egentligen eleverna användning av rörelse i undervisningen?
Syftet med studien är att undersöka hur gymnasieelever som har valt inriktning musik på Estetiska programmet upplever användning av rörelse i rytmik-och musikundervisningen. Studien undersöker även vilka faktorer som spelar in i hur bekväma eleverna känner sig med att röra på kroppen på rytmiklektioner och hur... (More) - I musikundervisning används rytmikmetoden som en helhetspedagogik för kunskapsinhämtning och för att stärka förståelse för musikteori. I rytmikmetoden är rörelse av kroppen centralt. En grundpelare i rytmikmetoden är praktik före teori eller ”sound before symbol”, alltså att vi behöver uppleva och erfara saker för att sedan kunna lära oss teorin bakom dem. Men hur upplever egentligen eleverna användning av rörelse i undervisningen?
Syftet med studien är att undersöka hur gymnasieelever som har valt inriktning musik på Estetiska programmet upplever användning av rörelse i rytmik-och musikundervisningen. Studien undersöker även vilka faktorer som spelar in i hur bekväma eleverna känner sig med att röra på kroppen på rytmiklektioner och hur de upplever att de har nytta av det i sitt eget musicerande.
Datainsamling skedde i forma av tre kvalitativa intervjuer med tre personer som har haft rytmik på schemat under sin gymnasiegång varav två av dem går sitt tredje år gymnasiet och en tog studenten för sju år sedan. De fick beskriva rytmiklektioner som de har varit med om och svara på frågor om när de känner sig bekväma eller obekväma med att röra på sig.
Resultatet visade på att lärarens instruktioner med tydliga ramar, progression i svårighetsgrad i övningar och gruppdynamik var faktorer som påverkade om informanterna kände sig bekväma eller inte. När det kom till sitt eget musicerande upplevde informanterna att de hade fått ökad kroppsmedvetenhet och kände sig friare i kroppen vid övning och uppspel, och att de blivit mer lyhörda på sina medmusiker i ensemblespel. (Less) - Abstract
- In music education Eurythmics is used as a holistic pedagogy method for acquiring knowledge and to strengthen the understanding of music theory. In the Eurythmics method bodily movement is a central part. One of the main pillars of the method is practice before theory or sound before symbol, meaning that we have to experience things before we can learn the theory behind them. But how do the students actually experience the use of movement in education? The purpose of this study is to examine how students of the Swedish high school who have chosen music in the Esthetics program, experience the use of movement in eurhythmics and music classes. The study also examines what factors play a role in how comfortable the students feel to move their... (More)
- In music education Eurythmics is used as a holistic pedagogy method for acquiring knowledge and to strengthen the understanding of music theory. In the Eurythmics method bodily movement is a central part. One of the main pillars of the method is practice before theory or sound before symbol, meaning that we have to experience things before we can learn the theory behind them. But how do the students actually experience the use of movement in education? The purpose of this study is to examine how students of the Swedish high school who have chosen music in the Esthetics program, experience the use of movement in eurhythmics and music classes. The study also examines what factors play a role in how comfortable the students feel to move their bodies during eurythmics classes and how they feel that they can use their experiences in their own music making.
The data was collected from three qualitative interviews who have had eurythmics classes during their time in the Swedish high school education system. Two of them are currently in their third and last year of their education and the third informant finished his education seven years ago. They were asked to describe eurythmics classes and lessons they had experienced and in what situations they were comfortable or uncomfortable to move their bodies.
The results showed that clear instructions from the teacher, progression in difficulty of the exercise, and group dynamic were factors that affected if the informants felt comfortable or not. When it came to their own music making the informants felt that they had acquired a higher sense of body awareness and felt more free in their bodies when practicing and performing, and that they had become more responsive to their music colleagues when playing in an ensemble. (Less)
Please use this url to cite or link to this publication:
http://lup.lub.lu.se/student-papers/record/9049149
- author
- Spisska Enebjörn, Sonja LU
- supervisor
- organization
- alternative title
- Embodied learning: A study about how high school students experience the use of movement in the Esthetics program with music orientation
- course
- LAMP72 20211
- year
- 2021
- type
- H3 - Professional qualifications (4 Years - )
- subject
- keywords
- Rörelse, Kropp, Rytmikmetoden, Rytmik, Musikundervisning, Dalcroze, Body, the Eurythmic Method, Eurythmics, Music Teaching, Utbildningsvetenskap, Musikpedagogik, Educational Science, Music Education
- language
- Swedish
- id
- 9049149
- date added to LUP
- 2021-06-07 10:06:43
- date last changed
- 2022-01-14 12:28:51
@misc{9049149,
abstract = {{In music education Eurythmics is used as a holistic pedagogy method for acquiring knowledge and to strengthen the understanding of music theory. In the Eurythmics method bodily movement is a central part. One of the main pillars of the method is practice before theory or sound before symbol, meaning that we have to experience things before we can learn the theory behind them. But how do the students actually experience the use of movement in education? The purpose of this study is to examine how students of the Swedish high school who have chosen music in the Esthetics program, experience the use of movement in eurhythmics and music classes. The study also examines what factors play a role in how comfortable the students feel to move their bodies during eurythmics classes and how they feel that they can use their experiences in their own music making.
The data was collected from three qualitative interviews who have had eurythmics classes during their time in the Swedish high school education system. Two of them are currently in their third and last year of their education and the third informant finished his education seven years ago. They were asked to describe eurythmics classes and lessons they had experienced and in what situations they were comfortable or uncomfortable to move their bodies.
The results showed that clear instructions from the teacher, progression in difficulty of the exercise, and group dynamic were factors that affected if the informants felt comfortable or not. When it came to their own music making the informants felt that they had acquired a higher sense of body awareness and felt more free in their bodies when practicing and performing, and that they had become more responsive to their music colleagues when playing in an ensemble.}},
author = {{Spisska Enebjörn, Sonja}},
language = {{swe}},
note = {{Student Paper}},
title = {{Förkroppsligat lärande: En studie om gymnasieelevers upplevelse av rörelse i rytmikundervisningen på estetiska programmet med inriktning musik}},
year = {{2021}},
}